This raging bull of a samurai movie deserves a better Blu-ray package to complement its endlessly magnetic visage.
Perpetually torn between its philosophical ambitions and horror-film roots, Daylight suffers from a debilitating identity crisis.
The dank Louisiana bayou is a perfect setting for The Chameleon, a ripped-from-the-headlines mystery where identity is as solid as quicksand.
Zazie Dans le Metro is a frenzied fusion of Malle’s absurdist sensibilities and William Klein’s colorful visual mash-ups.
These films go from romantically tormented to psychologically nuts, and cover all the emotionally unstable bases in between.
This savage film noir masterpiece given a hefty and necessary DVD release from the Criterion Collection.
Los Labios isn’t concerned with easy solutions regarding any of the pertinent subjects it addresses.
Since R focuses on complete mental and physical fragmentation, it rightfully separates the desolate locale based on narrative focus.
While Reversion sets up a complex communication platform for a universe being slowly ripped apart, it doesn’t know how to relate this idea in human terms.
Jennifer Yuh’s Kung Fu Panda 2 is an exquisite looking but substantially hollow sequel to the smash hit from 2008.
Note to self: Be careful what you wish for.
With his latest, Nuri Bilge Ceylan is purely interested in slowly unveiling a thematic can of worms that will tear people apart one long take at a time.
Drive’s narrative trajectory goes down a long and winding road into hell.
Across his latest, Almodóvar melds his consistent themes with an unsettling combination of warm compositions and sinister desires.
The sky is falling in Melancholia, but the impending apocalypse is more slow-motion dive than outlandish spectacle.
Immigration politics are at the forefront of Le Havre.
Can any critic fully trust their initial reaction to such a thematically mammoth film like Terrence Malick’s The Tree of Life?
Hollywood is a windfall business.
Stylistically, The Kid with a Bike is one of the Dardennes’ most fluid films.
Nanny Moretti’s warm and affecting Habemus Papam couldn’t be farther from Miss Bala in style.